The Man Who Shot Liberty Valance (1962) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Man Who Shot Liberty Valance ( 1962 ) Approved | A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.

Director: From $2.99 (SD) on Amazon Video ON DISC Mads Mikkelsen: From Serial Killer to 'Star Wars' Secret Weapon 19 December 2016 8:02 AM, -08:00 | Rollingstone.com a list of 47 titles created 18 Aug 2011 a list of 22 titles created 01 Mar 2013 a list of 26 titles created 08 Apr 2014 a list of 44 titles created 10 months ago a list of 31 titles created 2 months ago Title: The Man Who Shot Liberty Valance (1962) 8.1/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar. Another 4 wins & 2 nominations. See more awards » Videos A Civil War veteran embarks on a journey to rescue his niece from an Indian tribe.

Director: John Ford A small-town sheriff in the American West enlists the help of a cripple, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy. Director: Howard Hawks A group of people traveling on a stagecoach find their journey complicated by the threat of Geronimo and learn something about each other in the process. Director: John Ford A drunken, hard-nosed U.S. Marshal and a Texas Ranger help a stubborn teenager track down her father's murderer in Indian territory. Director: Henry Hathaway Dunson leads a cattle drive, the culmination of over 14 years of work, to its destination in Missouri. But his tyrannical behavior along the way causes a mutiny, led by his adopted son. Directors: Howard Hawks, Arthur Rosson Stars: John Wayne, Montgomery Clift, Joanne Dru An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them. Director: Sam Peckinpah A marshall, personally compelled to face a returning deadly enemy, finds that his own town refuses to help him.

Director: Fred Zinnemann 1 2 3 4 5 6 7 8 9 10 7.7/10 X Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water. Director: Howard Hawks A dying gunfighter spends his last days looking for a way to die with a minimum of pain and a maximum of dignity. Director: Don Siegel Ranch owner Katie Elder's four sons determine to avenge the murder of their father and the swindling of their mother. Director: Henry Hathaway A cavalry officer posted on the Rio Grande must deal with murderous raiding Apaches, his son who's a risk-taking recruit and his wife from whom he has been separated for many years. Director: John Ford A retired American boxer returns to the village of his birth in Ireland, where he finds love. Director: John Ford Edit Storyline When Senator Ransom Stoddard returns home to Shinbone for the funeral of Tom Doniphon, he recounts to a local newspaper editor the story behind it all.

He had come to town many years before, a lawyer by profession. The stage was robbed on its way in by the local ruffian, Liberty Valance, and Stoddard has nothing to his name left save a few law books. He gets a job in the kitchen at the Ericson's restaurant and there meets his future wife, Hallie. The territory is vying for Statehood and Stoddard is selected as a representative over Valance, who continues terrorizing the town. When he destroys the local newspaper office and attacks the editor, Stoddard calls him out, though the conclusion is not quite as straightforward as legend would have it. Written by garykmcd Two Great Stars Appear Together For the First Time! See more » Genres: 22 April 1962 (USA) See more » Also Known As: Un tiro en la noche See more » Filming Locations: Did You Know? Trivia John Wayne suggested Lee Marvin for the role of Valance after working with him in The Comancheros (1961). See more » Goofs The opening shot of the movie shows the train coming around the last bend on approach to Shinbone Station.

In this wide shot, the locomotive is seen pulling a cargo carriage and a passenger carriage. When the train pulls into the station a moment later, the locomotive is instead pulling two passenger carriages. See more » Quotes (North America) – See all my reviews John Ford directs this western story that opens with Senator Ransom Stoddard(played by Jimmy Stewart) arriving by train in the town of Shinbone, to attend the funeral of old friend Tom Doniphon(John Wayne). He tells a local newspaper reporter about his first arrival in Shinbone by stagecoach, where it is robbed by a bullying ruffian named Liberty Valance(Lee Marvin, well cast) As a young lawyer left only with his law books, he gets a job in a local restaurant as a dishwasher, only to run afoul of Valance again, who is being used by local landowners who oppose proposed statehood. Stoddard is approached to be a representative, and after being challenged by Liberty, is elected, though Valance decides that only a showdown can settle things...

Thoughtful and effective film is more a showcase for Stewart than Wayne, much the same way Stoddard comes to overshadow Tom, though both actors are equally memorable, as are the characters they play. 5 of 5 people found this review helpful. Was this review helpful to you? Yes ‎The Man Who Shot Liberty Valance (1962) directed by John Ford • Reviews, film + cast • Letterboxd 7 “This is the West, sir. When the legend becomes fact, print the legend.” The Man Who Shot Liberty Valance is a film that is highly revered today by critics and audiences alike, although when it was released in 1962 it wasn’t met with the same enthusiasm. Ironically today it is one of John Ford’s most popular films along with The Searchers and Stagecoach. Many even consider this to be Ford’s masterpiece and the purest example of the Western genre and the transition it was heading for. The film’s greatest appeal was that it starred James Stewart and John Wayne for the first time together.

Wayne always did his best work under Ford’s direction, but Stewart was the real star and… Review by Carlos Valladares ★★★★★ The lockpick to the laidback, quietly tragic spirit of the picture is John Wayne's contrapposto. It's not the prowling leopard's walk that sells Wayne; it's that final pose. A cool confidence, a delicate combination of the masculine and the feminine, gets channeled through Wayne's locked left leg and free right. Here is a Grecian god (that suit!! come on), transported to a slumdog Western town, dry as hell, camera kept at a terse plan-americain above the knees, perpetually heavenbound, mythos-oriented.

He's linked to the classical traditions — so naturally, he is hopeless, out-of-step with the brutally modernizing world (viz., cheap celebrity camerahogs played by the soon-to-be heavies of Nihilist 60s Westerns: Lee Marvin, Leone's pet Lee Van Cleef, and Peckinpah's… 3 "You know what scared 'em—the spectacle of law and order here, risin' up out of the gravy and the mashed potatoes!" The Man Who Shot Liberty Valance presents the Wild West as a flashback about a dead guy. This narrative framework is crucial to Ford's deconstruction of his own mythology (as Sergio Leone proclaimed, this is where Ford "learned pessimism"): the Western hero's fate was always already sealed because his history/fantasy was only ever a retroactive narrativization. John Wayne is much more than just a dead guy in a coffin, he's a vanishing mediator, a symbol of the unacknowledged violence of the foundation on which society rests. The town has changed so much since the arrival of the railroad (a… Review by Jason Ratigan ★★★★ There's an element of certain earnest genres like the American western that require some suspension of tastes to enjoy.

To enjoy The Man WHo Shot Liberty Valance or High Noon or Rio Bravo, you have to tolerate the explicit and over-appreciate the subtle moments of acting. John Wayne, like a bad sit-com, can express three different emotions and requires events to affect an audience. He has jovial, taciturn, and absolutely pissed. If Wayne is jovial in light of something that doesn't go his way, that's wry. If he's pissed in light of something good, that's "character". He's like a color wheel: take blue, add yellow, and that makes green. That's enough for a supporting character. It takes Jimmy Stewart who… Review by Carlos Valladares ★★★★★ The lockpick to the laidback, quietly tragic spirit of the picture is John Wayne's contrapposto. It's not the prowling leopard's walk that sells Wayne; it's that final pose. A cool confidence, a delicate combination of the masculine and the feminine, gets channeled through Wayne's locked left leg and free right. Here is a Grecian god (that suit!!

come on), transported to a slumdog Western town, dry as hell, camera kept at a terse plan-americain above the knees, perpetually heavenbound, mythos-oriented. He's linked to the classical traditions — so naturally, he is hopeless, out-of-step with the brutally modernizing world (viz., cheap celebrity camerahogs played by the soon-to-be heavies of Nihilist 60s Westerns: Lee Marvin, Leone's pet Lee Van Cleef, and Peckinpah's… That was pretty much perfect. A top two jimmy Stewart performance for me, alongside Mr. Smith Goes to Washington. Sharp, crisp b/w photography. I missed the outdoor locations of other Ford Westerns, but the stagey intimacy felt appropriate here. It's about civilization, not the untamed wild. Would make great companion with Deadwood in that regard. Story of how the west was tamed and civilization won out and what that process looked like, what people it required, and what it required of them. Length works to its advantage because it's more the story of that process and less of any one person.

Opening is an elegy for Tom and for the time he represented, delegate vote is vital to show Ransom's… The Man Who Shot Liberty Valance (1962) Starring: John Wayne, James Stewart, Vera Miles - Three Movie Buffs Review Movie Review The Man Who Shot Liberty Valance "Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford" Reviewed on: August 13th, 2008 Jimmy Stewart and John Wayne together at the same time is the real joy of this movie. Although The Man Who Shot Liberty Valance is a good movie, the real joy in it is watching two of the greatest legends of Hollywood team up and square off. John Wayne and Jimmy Stewart have two of the most distinct voices and on screen personas of the golden age of the movies. This film takes full advantage of both of them. Wayne plays a rough and tough gunslinger who does not take crap from anyone, while Stewart plays an idealist, pacifist. As the movie opens, a senator and his wife return to a small western town to bury an estranged friend.

The senator, Ransom, was made famous for being the man who killed the notorious bad guy, Liberty Valance. Most of the movie plays out as a flashback of Ransom telling the story to a local newspaperman. Filmed in black and white, due to the fact that Stewart plays an old man and then in flashback a man just out of law school. Except for the close ups, Stewart pulls it off. The script gives him plenty of opportunities to pontificate and give a few speeches. Anyone who knows Stewart’s work can just hear him saying "Liberty Valance." In several scenes he gets worked up and George Bailey takes over. This movie works a bit like It’s A Wonderful Life meets Mr Smith Goes to Washington. The character of Ransom was perfectly suited to Stewart. Wayne is likewise good. This movie utilizes his strength and this is the movie people are imitating when they do the Duke, "Whoa, take 'er easy there, Pilgrim." He says to Stewart. Wayne also has a dramatic scene where he gets drunk. In real life it was reported that the Duke could put them away and his Academy Award, for True Grit, was for playing a drunk. For a western, this movie covers many themes.

Wayne and Stewart each play opposite men, vying for the affection of the same woman. The movie gets a little political and patriotic. My favorite line in the movie is after Stewart finishes his story, he asks the newspaper man if he will write the true story. The writer responds, "No, sir. This is the West. When the legend becomes fact, print the legend." Did you enjoy Eric's review? +5 Scott : Reviewed on: February 4th, 2009 Wayne as Tom Doniphon represents the true heroes of the West and not the made-up legends who came after him. The Man Who Shot Liberty Valence isn't just a good movie, it's a great one. Truly one of the greatest Westerns ever filmed and very unlike the classic "Cowboy saves the day and rides off into the sunset" type that were so popular in the 1950s and 1960s. It's a dark film that is tinged with a kind of sadness that I find very appealing. That line you mention Eric about printing the legend really sums up this whole movie. You have Wayne's character of Tom who is of the genuine West. The last gunslinger hero you might say.

Through most of the film he is dusty and trail worn. He isn't the marshal or acknowledged as a hero. He just is who he is; the big strong silent hero and he dies in obscurity. Stewart's Ransom is the legend of the West. To the people in the movie he is the cowboy who saved the day, got the girl and rode off to live happily ever after. And look at the scene where Ransom is nominated for the Senate. His competition is a duded up cowboy in fake western clothes who has someone else ride a horse into the room, up on stage and then twirl a lasso around him in a mockery of the West and summation of how many people at the time this film was made viewed the West. Although part of the reason for filming this movie in black and white might have been to hide Stewart's age since he has to play both young and old, I also think that it suits the mood of the movie, which is dark and claustrophobic. You'll notice that at the beginning, where Stewart is telling the story, it is filmed outside and during the day. The flashback is filmed almost entirely on a soundstage and almost completely at night. There are no Technicolor desert vistas here.

While there are some deeper things going on in this movie, on the surface it is also just plain enjoyable. As you say Eric, the best scenes are when Stewart and Wayne are in them together. Wayne is terrific here and is at his heroic best. I love the scene when he faces off with Valence in the restaurant. When Wayne's steak is dropped on the floor he tells Valence to pick it up and when one of Valence's toadies goes to get it instead, Wayne kicks him away from it. Only he does it so casually and yet so threateningly, it's a treat to watch. He also delivers a great reply to Valence's, "You looking for trouble?" when he says, "Why you aimin' to help me find some?" He's such a bad-ass here. Despite being a darker kind of Western, there are also some funny moments to be found. Andy Devine is good as the inept marshal who hides whenever trouble comes around and Edmond O'Brien as the drunk newspaper man is also amusing at times. Not a lot of Westerns have stood the test of time. The Man Who Shot Liberty Valence is one of the ones that has. Did you enjoy Scott's review?

+7 Reviewed on: June 30th, 2011 John Wayne, Woody Strode and Jimmy Stewart in The Man Who Shot Liberty Valance. John Ford was such a great director that even one of his lesser westerns is better than most. Liberty Valance is a good but flawed entry in his noble canon. This is one of the last of the black & white westerns (and Ford’s last movie in the format) since by the early 1960s only serious dramas or very low budget movies were still being shot without color. It works because, as Scott mentioned, most of the movie takes place indoors, or at night. Although the movie features some great acting, dramatic tension and a decent emotional pay-off it is also methodically paced. The introductory scene before the flashback and the political rally at the end are both drawn out needlessly. The scene where Ransom is nominated for office drags on as an excuse for old time Ford player John Carradine to have a bigger cameo. For the record Stewart was too old for the role of a greenhorn lawyer fresh from law school. For the most part Wayne is good as the tough as nails Tom Doniphon although this is definitely a supporting role.

His drunken rampage at the saloon is a bit overcooked though. Eric, this is the first movie in which he calls someone “Pilgrim” but not the last by any means. Lee Marvin hams it up as usual in all of his scenes as the one-dimensional but charismatic titular villain. The supporting cast is filled with familiar faces. Besides Andy Devine you have Vera Miles as the love interest, Denver Pyle as one of the townsfolk and classic bad guys Strother Martin and Lee Van Cleef as members of Liberty Valance’s gang. Edmond O’Brien is effective in the part of the florid speaking, alcoholic, newspaperman. This role would most assuredly have gone to Ford stalwart Thomas Mitchell a few years earlier. Mitchell died the year this movie was released. Woody Strode, one of the most famous black actors to appear in westerns, plays Pompey, John Wayne’s sidekick. His career dated back to Stagecoach in 1939 and continued until The Quick and the Dead which was posthumously released in 1995. He is best remembered as the gladiator Kirk Douglas battles in Spartacus. The Man Who Shot Liberty Valance is nearly a great movie.

A tighter edit and less talking would have made the difference. The Man Who Shot Liberty Valance The Man Who Shot Liberty Valance IMDb Link: DVD Tagline: Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford Synopsis: Like Pontius Pilate, director John Ford asks "What is truth?" in The Man Who Shot Liberty Valance--but unlike Pilate, Ford waits for an answer. The film opens in 1910, with distinguished and influential U.S. senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the dusty little frontier town where they met and married twenty-five years earlier. They have come back to attend the funeral of impoverished "nobody" Tom Doniphon (John Wayne). When a reporter asks why, Stoddard relates a film-long flashback. He recalls how, as a greenhorn lawyer, he had run afoul of notorious gunman Liberty Valance (Lee Marvin), who worked for a powerful cartel which had the territory in its clutches. Time and again, "pilgrim" Stoddard had his hide saved by the much-feared but essentially decent Doniphon.

It wasn't that Doniphon was particularly fond of Stoddard; it was simply that Hallie was in love with Stoddard, and Doniphon was in love with Hallie and would do anything to assure her happiness, even if it meant giving her up to a greenhorn. When Liberty Valance challenged Stoddard to a showdown, everyone in town was certain that the greenhorn didn't stand a chance. Still, when the smoke cleared, Stoddard was still standing, and Liberty Valance lay dead. On the strength of his reputation as the man who shot Valance, Stoddard was railroaded into a political career, in the hope that he'd rid the territory of corruption. Stoddard balked at the notion of winning an election simply because he killed a man-until Doniphon, in strictest confidence, told Stoddard the truth: It was Doniphon, not Stoddard, who shot down Valance. Stoddard was about to reveal this to the world, but Doniphon told him not to.

It was far more important in Doniphon's eyes that a decent, honest man like Stoddard become a major political figure; Stoddard represented the "new" civilized west, while Doniphon knew that he and the West he represented were already anachronisms. Thus Stoddard went on to a spectacular political career, bringing extensive reforms to the state, while Doniphon faded into the woodwork. His story finished, the aged Stoddard asks the reporter if he plans to print the truth. The reporter responds by tearing up his notes. "This is the West, sir, " the reporter explains quietly. "When the legend becomes fact, print the legend." Dismissed as just another cowboy opus at the time of its release, The Man Who Shot Liberty Valance has since taken its proper place as one of the great Western classics. It questions the role of myth in forging the legends of the West, while setting this theme in the elegiac atmosphere of the West itself, set off by the aging Stewart and Wayne.

Country: The Man Who Shot Liberty Valance: The Centennial Collection (1962) The Man Who Shot Liberty Valance: The Centennial Collection (1962) Reviewed by Colin Jacobson (May 5, 2009) Two screen legends united for the first time in 1962�s The Man Who Shot Liberty Valance. Set in the 19th century, Senator Ransom Stoddard (Stewart) returns to the frontier town of Shinbone along with his wife Hallie (Vera Miles). Both Senator and Mrs. Stoddard used to live in Shinbone, and they come back for the funeral of their old friend Tom Doniphon (Wayne). When the local newspapermen demand to know what makes Doniphon�s funeral worthy of a senator�s attention, Stoddard launches into a flashback story and we learn how he came to the town as a young lawyer. Local outlaw Liberty Valance (Lee Marvin) robs the coach on which Stoddard rides, and when the neophyte barrister protests, Valance nearly beats Stoddard to death. This incident sets Stoddard on an unusual quest for revenge.

He doesn�t want to kill Valance; he wants to jail his assailant. Stoddard pursues this goal and also becomes close to Doniphon, the man who helps him the most as he tries to halt the menace known as Liberty Valance. Although both Stewart and Wayne never worked together prior to this flick, it�s interesting to note that Shot was one of two 1962 films in which both appeared. The actors also showed up in How the West Was Won , though they never acted together in that one; West�s story spanned many decades, so the paths of the Wayne and Stewart characters never crossed. Not only does Shot actively mix Stewart and Wayne, but also it proves more satisfying than the lush but dramatically flat West. The only minor negative I find here comes from the age of a few actors. While the film never specifies the ages of its characters, it seems likely that Stoddard and Hallie are supposed to be in their twenties. Both the 32-year-old Miles and (especially) the 53-year-old Stewart just seem awfully old for the roles; that factor requires a bit more suspension of disbelief than one would like.

(Then 54-year-old Wayne was also too old for his part, but since we don�t see him as an older man and the movie doesn�t make much of his status, the issue seems less noticeable.) Nonetheless, I�m willing to make that kind of leap for a quality western like Shot. Regardless of age, the presence of so many talented actors helps make this a strong effort. I especially like the chemistry between Wayne and Stewart. Both men seem to come from different schools of acting, as the swaggering authority of Wayne and the stammering sputter of Stewart don�t feel like much of a match. However, the two combine well. Actually, I don�t know if Wayne was ever better. Never the most three-dimensional performer, Wayne seems exceedingly relaxed and comfortable here. There�s a certain easy charm to his performance that makes him feel more believable than usual, and his lack of pomp creates a good connection with Stewart. Unlike Wayne, we don�t automatically connect Stewart with westerns; he made quite a few, but the actor�s name doesn�t evoke the genre in the same way Wayne�s does. His Stoddard creates a contrast with Wayne�s Doniphon, as Stewart provides the broader performance of the two.

That doesn�t mean he makes Stoddard a cartoon, though; Stewart tones down the role when necessary, and he gives the part a good sense of everyman humanity. In the way it neatly combines drama, comedy, action and pathos, Shot reminds me of an earlier John Ford flick: 1939�s classic Stagecoach . That flick was more in the vein of escapist western fare, though, while Shot comes with a deeper message. I don�t mean that as criticism of Stagecoach, of course; it might be the greatest western ever made. But it doesn�t present much of a social message, while Shot clearly comes with an underlying theme. However, it can be a little tricky to pin down what message the film really wants to convey, especially when we view Shot as part of its era. With the civil rights era in full swing, one could easily see Stoddard as a Martin Luther King character at first � until he gets so fed up with Valance�s outlaw weighs that he goes the Malcolm X route. Therein lies the mixed message. On one hand, Shot follows a progressive path as the educated Stoddard does so much to embolden and empower the benighted citizens of Shinbone.

However, for all his education and liberal ways, the most important change � Valance�s death � only occurs when Stoddard abandons his quest to jail the outlaw and he takes up arms. Given earlier Ford/Wayne efforts, the goals of Shot become even more intriguing to explore. 1956�s The Searchers came with a somewhat similar message that explored the futility of violence while it also detailed how necessary violence can sometimes be. Both follow their themes in very different ways, but they dig into similar topics. Of the two, I must say I prefer Shot. For all its plaudits, Searchers has yet to really move me. On the other hand, I think Shot provides a more engaging exploration of its subject. It also turns into a darned entertaining western melodrama. Trivia footnote: most impersonations of Wayne feature his use of the word �pilgrim�. Shot is the flick that originated that signature term for Wayne � and it may well be the only place he used it.

The DVD Grades: Picture B/ Audio B-/ Bonus B- The Man Who Shot Liberty Valance appears in an aspect ratio of approximately 1.85:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Across the board, this was a good transfer. Sharpness seemed fine for the most part. Wide shots could be a litle soft and blocky, partially due to some light edge enhancement. Nonetheless, the majority of the film showed acceptable clarity and definition. I noticed no issues with jagged edges or shimmering. Source flaws were essentially absent. I noticed the odd speck here or there, but those were inconsequential. Grain remained within acceptable levels and never became intrusive. Blacks showed positive depth, and contrast looked solid. Shadows were also quite good, as low-light shots demonstrated nice clarity and opacity. The mild softness kept the transfer from �A�-level, but I found it to be very satisfying. In addition to the original monaural audio, Shot came with a Dolby Digital 5.1 remix. As a fan, I�d rather stick with the theatrical audio, but I thought the expanded track worked well.

The soundscape didn�t go crazy with various elements, so it felt like a moderate expansion of the mono mix. Music showed decent stereo spread, and effects broadened to the sides in a convincing manner. Much of the audio remained focused in the center, but some elements like coaches moved across the front speakers in a nice manner. The 5.1 remix of Shot didn�t do much with the surrounds. At best, the track used the back speakers to reinforce the music and effects. I never became aware of anything more active from the rear channels, and that was fine with me; I didn�t think the movie required any more auditory expansion than it boasted. Audio quality aged well. Though speech occasionally appeared a little thick, the lines usually sounded pretty natural and concise. Music was reasonably engaging, and effects showed good clarity and definition. My only complaint came from a mild thumping sound that briefly popped up around the 47-minute mark. Nothing here really impressed, but the results were more than acceptable given the age of the material. How did the picture and sound quality of this 2009 �Centennial Collection� DVD compare with those of the original 2001 release ?

Both offered virtually identical audio, but the 2009 disc provided substantial visual improvements. The new disc boasted a much cleaner transfer, and it also showed better clarity in low-light situations. While the old disc included virtually no extras, the �Centennial Collection� package adds a mix of components. On DVD One, we start with an audio commentary. It combines a running, screen-specific chat from filmmaker Peter Bogdanovich with archival recordings from director John Ford and actor James Stewart. The commentary covers cast and performances, sets and locations, music and visual styles, and elements of the story. When you look at my thoughts about prior Bogdanovich commentaries, you�ll see that they�re generally not positive. Does the filmmaker improve on that weak track record? Unfortunately, no. Bogdanovich presents a presence so low-key that he threatens to vanish into the ether. He rarely shows any spirit as he sleepwalks through the movie. At least the remarks from Stewart and Ford prove more effective. Those offer some interesting stories and thoughts. Unfortunately, they don�t pop up with great frequency, so we�re usually left with Bogdanovich � when he bothers to talk, since we suffer through more than a few dead spots.

You�ll learn a smattering of decent facts from the chat, so I don�t want to paint it as a disaster. However, it never becomes better than average, and it often seems dull and flat. More archival material appears during a selected scene commentary. This includes an intro from director�s grandson Dan Ford and provides notes from John Ford, Stewart, and actor Lee Marvin. If you select the �Play All� option, this collection runs a total of 22 minutes, 43 seconds. We learn that Ford conducted these interviews in the early 1970s as research for a book. The clips cover cast and performances as well as various aspects of the production and the careers of the participants. Expect a lot of interesting notes here. To my surprise, we don�t get a ton of info from John Ford. Since his grandson led these interviews for a book about the director, I thought he�d dominate, but instead the clips from the actors take up most of the time. All three provide interesting insights, though Marvin�s are probably the best of the bunch. Over on DVD Two, we find a seven-part featurette entitled The Size of Legends, The Soul of Myth.

Viewed as a whole, this show runs 50 minutes, 52 seconds as it presents notes from Bogdanovich, Dan Ford, film critic/historian Richard Schickel, John Ford biographer Scott Eyman, Paramount Picture producer AC Lyles, film historian Michael Blake, Lee Marvin�s widow Pamela, and film critic/author Molly Haskell. We also hear from John Ford, James Stewart and Lee Marvin via archival elements. The program looks at the status of Hollywood in the early 1960s and how these factors affected Shot. We also examine the source story and its adaptation, the flick�s development and John Wayne�s involvement, John Ford�s approach to the subject matter, themes and interpretation, cast and performances, and the flick�s reception. �Size� gives us a somewhat disjointed look at Shot. While it digs into some interesting subjects, it doesn�t follow a particularly logical and concise path. It repeats a fair amount of information heard elsewhere, and it doesn�t feel like an especially dynamic take on the material. Oh, it still allows us to learn a reasonable amount about the film, but it never really brings the subject matter to life.

In addition to the film�s trailer - the only extra found on the earlier DVD � we get some Galleries. These break down into �John Ford� (25 stills), �Production� (21), �Publicity� (14) and �Lobby Cards� (8). All prove to be interesting, though the amusingly stiff publicity shots provide the most enjoyment. Finally, the set includes a booklet. The eight-page piece provides some short production notes and a few photos. It�s not memorable but it�s a nice way to finish the set. With John Ford behind the camera and both James Stewart and John Wayne in front of it, 1962�s The Man Who Shot Liberty Valance presents a meeting of cinematic giants. Even with all that such a combination promises, Shot lives up to expectations, as it offers a dynamic, dramatic western. The DVD presents good picture and audio along with an inconsistent but acceptably informative set of supplements. Shot remains a rich tale, and this �Centennial Collection� DVD gives us its best home video incarnation to date. It improves on the problematic visuals that came with the original 2001 disc and it also includes all-new extras. Fans will definitely want to upgrade to this version.

The Man Who Shot Liberty Valance (1962) | The Movie Portal | The Movie Portal The Man Who Shot Liberty Valance (1962) Movie Portal Home > Drama > The Man Who Shot Liberty Valance (1962) The Man Who Shot Liberty Valance (1962) Together For The First Time – James Stewart – John Wayne – in the masterpiece of four-time Academy Award winner John Ford A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed. Full summary » Genre: Drama,Romance,Western The Man Who Shot Liberty Valance (1962) Release Date: 22 April 1962 (USA) Country: USA Director: John Ford Cast: John Wayne Strother Martin Incoming search terms 21 Responses to The Man Who Shot Liberty Valance (1962) rchenderson51 konam This is a big battle of egos here between Jimmy and Wayne. The fact that John Wayne’s name if the first to be shown, means that Wayne was/is more famous than Stewart? What do you think? – He moves his lips when he reads.

What does that tell you about him? This was a terrific movie. 1962? Wow! "We never hide from history!" said one part of an "incredibly gracious" couple yesterday – running for something overseas. He had sent a condolence card to his opponent following the death of one of his opponents older relatives. Yes it was gracious I thought. "Print the legend!" – the whole reason for this Western film and there is a political career in it for you. James Stewart accepted that finally and was it not an African American character who threw that fateful weapon to John Waynes character in the flash back? Pompey? Woody Strode of "Once Upon A Time In The West" fame – though – SPOILER – you may know what happened to him in the first reel. Never hide from history. That is a good way to live and I thought often about my history and former jobs. Some adverts running – "I’d pay good money to see that anytime"? Marshalling my face at the word "apogee" – I move on. "So, Ms – This man who shot Liberty Walker, point blank I hear? Valance, is that his name? African American was he?

Don’t you worry Ma’am – we will get him. ‘ere, Harmonica – we have a job for you!" Subject: Will Europe get the America it wants Anagram: Paul – Cinema law – Hottest wig Retiree Ah – if only THAT were true. Pulling my leg-end! Still taking the wee wee I see? Autumn – dire media = Data – medium urine? Just how does one actually FAKE Dna? And so much of it? Disbelief after so much time is somewhat wearing. It suggests that Print The Legend is looking for a somewhat ramshackle home. I do not mind. Print it. Reply yoda87960 "He’s right there! Get him!" I don’t get it. The whole movie I kept yelling that at the top of my lungs. Granted, I still liked the movie, but it was irritating. Here’s a criminal that has every reason to be killed or jailed or shot by anyone in the whole town. He and his three guys could easily be taken out by any gun toting lunatic around. I mean, it’s the wild west! John Wayne could have shot any of those guys at any time and it would easily be ruled a justifiable homicide.

When you carry a pistol with you and threaten people, it tends to make you fair game. Just ask Phil Spector. And why oh why would the journalists not want to print the truth at the end. They’re journalists! The guy’s political career is over now. It doesn’t matter anymore. Why perpetuate the lie? Reply santol321 When Pompey is young, he is completely bald. When he is an old man, now he has a fringe of white hair. Where did the hair come from? Reply heyouactor When Liberty Valance was shot, was it murder, "cold blooded murder", as Tom said? Any criminal lawyers here, who have seen the movie, know the answer? "I can understand it, but I don’t like it none!"–Cheyenne. Reply grstmc This show is one of the Duke’s best, and one that I wind up watching every time I run across it, so I don’t want to over-analyze one particular part of it, even though nothing can disrupt the ultimate success of LIBERTY VALENCE as one hell of a film. But I do have a problem with one character.

Am I the only one who doesn’t buy the character of Link Appleyard, the cowardly sheriff played by Andy Devine? He’s practically a throwback to films of the 1930s and 1940s, when a character that’s almost totally one of comic relief was routinely commonplace in an otherwise serious film. But for 1962, Appleyard seems kind of out of place to me. Unless he got the job by accident and was thrown out in the next election after the story took place, there’s no other way the people of Shinbone would put up with a sheriff unable to do at least the minimum required for keeping the peace. Appleyard doesn’t act like he could handle an obnoxious brat let alone a belligerent drunk. No wonder he hid out every time Liberty Valence came to town. Reply LadyJaneGrey In such fine company as Stewart, Wayne, Carradine, and Marvin, O’Brien really stood out for me as the drunken newspaperman, and actually playing close to his real age as opposed to Stewart and Wayne, both playing men some 30 years younger. And he nearly stole some scenes away from both fine actors!

The age problem diminished the picture somewhat for me. I think young men should be played by young men and not men in their 50s, as Wayne and Stewart were. The youthful naivete of Stoddard as played by Stewart rung false to me, as did Wayne referring to Miles as "my girl." Am I anywhere near the imaginary cliff? Reply gbromberg His performance as Liberty Valance has to be one of the most honest portrayals of an antagonist. He is horrifically brilliant in this movie. Reply wolfsblood66210 To me it looked like both Tom and Ranse shot Liberty at almost the same time. So they both were responsible for killing him in my opinion. Is there reason to believe that if Tom hadn’t been there that Liberty would have won the gun battle? They were so close to each other that it looked like Ranse had a great chance. Ranse seems to believe that Tom saved his life by his actions but how can this be established for sure? Reply MrPie7 The Triv section points out that Duke, Andy Devine and John Carradine were in an earlier Ford film, "Stagecoach".

But there is second Ford trilogy of actors in TMWSLV: Caradine, John Qualen (Peter), and OZ Whitehead (Herbert Carruthers) were in "The Grapes of Wrath" together. They portrayed Jim Casey, Muley Graves, and Al Joad respectively. Reply dshivers In the closing scene in the locomotive car when the conductor tell’s Ranse that nothing is too good for the man that shot Liberty Valance. They both sit back and look incredibly sad as the train whistle blows. Was Hallie feeling guilty that she had chosen to marry Ranse instead of Tom? Obviously, Tom never recovered from losing Hallie. She also told Ranse that she had wanted for a long time to come back to live in Shinbone. Do you think she was disappointed in her life with Ranse? Phantom Fan km9000 Um… so, yeah. And Woody/Pompey looks like that guy on Lost whose name I can’t remember and I’m sure has popped up in other shows and movies. Reply jimmy-chopsocky Does anyone else get angry at Doniphon for the way that, through his actions, he ruins Rance’s life?

I know that the whole plot conspires aganst Doniphon as a Western dinosaur whose era is ending thanks to the spread of civilisation, railroads and such, but I don’t hold with the condemnation of Stoddard on the fact that he gains power and success on a lie (when Doniphon should get the acclaim for Liberty Valance’s assassination). Doniphon condemns Rance to a life of guilt by shooting Liberty and then, in his selfish booze-ridden "woe is me! Hallie doesn’t love me!" silence, not telling the affable attorney that he’s done so. He can’t get what he wants and can’t face up to his feelings (über-macho Western weakness) so he has to push his pain on to others and upset their happiness. Doniphon lingers like a cancer occupying the rest of Rance and Hallie’s lives! Boo! What did they do to deserve all that shame? "don’t think…feeeeel" Reply jimbo700 I was hoping someone would be able to tell me why this motion picture was shot in the old academy radio of 1.66:1, and in black and white, no less.

By 1962 very few movies were shot in b&w, and John Ford was responsible for some of the most spectacular Technicolor films ever filmed. Why the step back? nomen_est_omen_4 *spoilers* (Although if you’re here, you’ve probably seen it) When do you think Hallie found out Ranse wasn’t the one who shot Liberty? Before they were married? Shortly after? A long time after? Obviously her love for him wasn’t based on his ability to shoot a man, but she did fall in love with a man she thought was kind, honest and idealistic. Do you think she understood? How do you think she felt about upholding the lie all those years? Do you think that discovering Tom’s nobility about the situation would have changed her ideas about him? I think in my mind Ranse waited until shortly after they were married, partly because he was unsure at first whether to tell her at all, and partly because he wasn’t sure she would still respect him. I think afterward she probably idolized him less, but still loved him. She was probably torn her whole life between guilt at lying and protecting her husband.

I also think it probably did cause her to fall a little bit more in love with Tom and possibly regret her original choice in a husband, both because Tom turned out to be much more noble than she thought, but also because she would have had a much simpler and more familiar life as his wife. However, I think she still loved Ranse more, and besides, she was already married to Ranse and had to abide by her decision. I also think there might have been several reasons that they never went back to Shinbone until after Tom’s death or visited while he was alive. Not only were they busy, guilty at using him as a springboard and reluctant to flaut their marriage in front of him, but I think they both might also have worried that seeing him again might have caused Hallie to finally fall completely for him at last. Clearly her emotions were running high just hearing about his death and being in Shinbone again. Reply cwente2 I just saw a new DVD featuring "The Man Who Shot Liberty Valance" and "Shane" as co-features.

I thought that was an appropriate mix, not just because both films are acknowledged to be great Westerns, but because they share a common theme — the end of the era of the hired gun, and the beginning of a more "civilized" approach to problem-solving. A maturing of the old West? Lots of films have touched on this subject, but these are, certainly, two of the very best. Film buffs like comparisons — they’re fun. Any thoughts? . . . Reply Vertigomovie I really like The Man Who Shot Liberty Valance in that it not just a cowboy shooting film, but there is a tone of political messages in it: laws, freedom, justice, the constitution, war, education and so on… But what makes me like The Man Who Shot Liberty Valance even more is that to see James Stewart and Vera Miles together on the Silverscreen! At times, it felt like seeing the Hitchcock’s James Stewart and Vera Miles version of "Vertigo". Vera Miles was supposed to be casted as "Madeleine" in Hitchcock’s Vertigo, but she dropped out because she became pregnant before production begin. Mr. Hitchcock was dissappointed because he was grooming Vera Miles to be the next Grace Kelly.

Then Mr. Hitchcock casted Kim Novak for the role of Madeleine in Vertigo. Kim Novak’s complextion resembles Vera Miles. That’s one of the reasons why Mr. Hitchcock casted Kim Novak. Watch Hitchcock’s Vertigo (Jimmy Stewart with Kim Novak) Watch The Man Who Shot Liberty Valance (Jimmy Stewart with Vera Miles) And you can see the what could have been or Jimmy Stewart & Vera Miles’s Vertigo version. The Man Who Shot Liberty Valance (1962) - Flickchart The Man Who Shot Liberty Valance (1962) like/share ► Have It In Their Top 20 Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford TommyDoyle78 on 5/9/2015 Reply · Like · (0 likes) I enjoyed it and laughed a lot with the Duke. I give a 9 out of 10. 0 people liked this √ The Man Who Shot Liberty Valance (1962) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property.

Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Man Who Shot Liberty Valance ( 1962 ) Approved | A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed. Director: From $2.99 (SD) on Amazon Video ON DISC Mads Mikkelsen: From Serial Killer to 'Star Wars' Secret Weapon 19 December 2016 8:02 AM, -08:00 | Rollingstone.com a list of 47 titles created 18 Aug 2011 a list of 22 titles created 01 Mar 2013 a list of 26 titles created 08 Apr 2014 a list of 44 titles created 10 months ago a list of 31 titles created 2 months ago Title: The Man Who Shot Liberty Valance (1962) 8.1/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Nominated for 1 Oscar. Another 4 wins & 2 nominations. See more awards » Videos A Civil War veteran embarks on a journey to rescue his niece from an Indian tribe. Director: John Ford A small-town sheriff in the American West enlists the help of a cripple, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy. Director: Howard Hawks A group of people traveling on a stagecoach find their journey complicated by the threat of Geronimo and learn something about each other in the process. Director: John Ford A drunken, hard-nosed U.S. Marshal and a Texas Ranger help a stubborn teenager track down her father's murderer in Indian territory. Director: Henry Hathaway Dunson leads a cattle drive, the culmination of over 14 years of work, to its destination in Missouri. But his tyrannical behavior along the way causes a mutiny, led by his adopted son. Directors: Howard Hawks, Arthur Rosson Stars: John Wayne, Montgomery Clift, Joanne Dru An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them.

Director: Sam Peckinpah A marshall, personally compelled to face a returning deadly enemy, finds that his own town refuses to help him. Director: Fred Zinnemann 1 2 3 4 5 6 7 8 9 10 7.7/10 X Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water. Director: Howard Hawks A dying gunfighter spends his last days looking for a way to die with a minimum of pain and a maximum of dignity. Director: Don Siegel Ranch owner Katie Elder's four sons determine to avenge the murder of their father and the swindling of their mother. Director: Henry Hathaway A cavalry officer posted on the Rio Grande must deal with murderous raiding Apaches, his son who's a risk-taking recruit and his wife from whom he has been separated for many years. Director: John Ford A retired American boxer returns to the village of his birth in Ireland, where he finds love.

Director: John Ford Edit Storyline When Senator Ransom Stoddard returns home to Shinbone for the funeral of Tom Doniphon, he recounts to a local newspaper editor the story behind it all. He had come to town many years before, a lawyer by profession. The stage was robbed on its way in by the local ruffian, Liberty Valance, and Stoddard has nothing to his name left save a few law books. He gets a job in the kitchen at the Ericson's restaurant and there meets his future wife, Hallie. The territory is vying for Statehood and Stoddard is selected as a representative over Valance, who continues terrorizing the town. When he destroys the local newspaper office and attacks the editor, Stoddard calls him out, though the conclusion is not quite as straightforward as legend would have it. Written by garykmcd Two Great Stars Appear Together For the First Time! See more » Genres: 22 April 1962 (USA) See more » Also Known As: Un tiro en la noche See more » Filming Locations: Did You Know? Trivia Cyril J.

Mockridge was hired to score the picture, but John Ford used a bit of music from Young Mr. Lincoln (1939) score under some of Vera Miles ' scenes. Ford later told Peter Bogdanovich that he used Alfred Newman 's "Ann Rutledge" theme for the same reason in both films, to evoke the feeling of lost love. He also told Bogdanovich that he made it apparent (through this music and other means) that Miles' character Hallie had never gotten over Tom Doniphon because he wanted John Wayne to be the lead rather than James Stewart . See more » Goofs Doniphon moves his head back just as Stoddard punches him. See more » Quotes Who's The Better Man Here? Answer: Neither. 22 June 2007 | by jvincent1 (United States) – See all my reviews I just read the comments of someone from August 30, 2004, who had reached the conclusion that John Wayne's character had stepped aside "for the better man," played by Jimmy Stewart. From my view, nothing could be farther from the truth.

For all Ransom Stoddard's disdain for frontier violence, in the end, he was left with no choice but to pick-up a gun to finally silence Liberty Valance, something Valance knew better than to do with Wayne's Tom Doniphon. Call Stoddard the idealist and Doniphon the realist, but don't call him the better man. In 1946, John Ford directed My Darling Clementine, perfectly blending Wayne and Henry Fonda with his usual cast of characters to create a masterwork. Sixteen years later, he put Wayne together with Stewart (plus all the ol' gang) and made another peerless film. There was a time I didn't really "get" John Ford and John Wayne. One day, I awoke and now, the greatness of these two giants of the cinema is undeniable. 34 of 46 people found this review helpful. Was this review helpful to you? Yes The Man Who Shot Liberty Valance (Blu-ray, 2012) | eBay The Man Who Shot Liberty Valance (Blu-ray, 2012) Trending price is based on prices over last 90 days.

1of3 AU $11.89 Trending at: $9.06 Where does this number come from?eBay determines this price through a machine learned model of the product's sale prices within the last 90 days. condition Brand New An item that has never been opened or removed from the manufacturer’s sealing (if applicable). Item is in original shrink wrap (if applicable). See the seller's listing for full details. sold by mybargainaustralia ( 227907 )99.8% Positive Feedback delivery Est. Jan 24 - Feb 6From Australia Returns All listings for this product New AU $13.95 Buy It Now Best Selling in DVDs & Blu-ray Discs Trending price is based on prices over last 90 days. Save on DVDs & Blu-ray Discs Trending price is based on prices over last 90 days. Product Information Product Information Ranking with Stagecoach as one of the greatest of its genre, The Man Who Shot Liberty Valance is the modern-day western to beat all westerns. John Ford, whose very name is synonymous with "westerns," directed the ideal cast.

Jimmy Stewart plays the bungling but charming big-city lawyer determined to rid the fair village of Shinbone of its number one nuisance and bad man: Liberty Valance (Lee Marvin). And as if all that weren't enough, the biggest star that ever aimed a six-shooter plays the Man of the title: John Wayne. Super sincere Stewart and rugged rancher Wayne also share the same love interest (Vera Miles). One gets the gunman, but the other gets the gal. Product Identifiers The Man Who Shot Liberty Valance Format Andy Devine,Edmond O'Brien,James Stewart,John Wayne,Ken Murray,Lee Marvin,Vera Miles Directors Great Film Tag Lines Great Film Tag Lines "Movie-wise, there has never been anything like it - laugh-wise, love-wise, or otherwise-wise!" The Magnificent Seven (1960) "Check in. Relax. Take a shower." AND "It is REQUIRED That You See Psycho From the Very Beginning!" Homicidal (1961) "There will be a special FRIGHT BREAK during the showing of Homicidal.

Can your heart stand the challenge when the clock starts the COUNTDOWN!" "If you come in five minutes after this picture begins, you won't know what it's all about! When you've seen it all, you'll swear there's never been anything like it!" The Man Who Shot Liberty Valance (1962) "Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford" "Sister, sister, oh so fair, why is there blood all over your hair?" Beach Party (1963) "Suspense and shock beyond anything you have seen or imagined!" AND "The man with the barbed-wire soul." The Nutty Professor (1963) "The hot-line suspense comedy." The Flesh Eaters (1964) "The only people who will not be STERILIZED with FEAR are those among you who are already DEAD!" AND "The loverliest motion picture of them all!" Cat Ballou (1965) "A Riot! A Ball! A Romp! A Gasser! A Swinger! A She-Bang! A funny movie...?

You bet it is!" Doctor Zhivago (1965) "A Love Caught in the Fire of Revolution" Faster, Pussycat! Kill! Kill! (1965) "Go-Go For a Wild Ride With the ACTION GIRLS!" Inside Daisy Clover (1965) "The story of what they did to a kid..." The Loved One (1965) "The movie with something to offend everyone." Orgy of the Dead (1965) "The film that will satisfy every over-sexagesimal adult!" AND "In gorgeous and shocking ASTRAVISION and SEXICOLOR!" She (1965, UK)

Question: Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford was the tag-line to what movie?
Answer: The Man Who Shot Liberty Valance